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Thesis Submitted in Fulfilment of the Requirements of the Degree THE LANGUAGE OF GESTURE IN ITALIAN DANCE FROM COMMEDIA DELL'ARTE TO BLASIS VI Giannandrea Poesio Dottore in Lettere (University of Florence) Thesis submitted in fulfilment of the requirements of the degree of Doctor of Philosophy 4 Department of 'Dance Studies University of Surrey September 1993 This thesis investigates the origins and the evolution of theatre mime in Italy and its transformation into "ballet mime", a vocabulary of conventional. gestures used in classical ballet. The research demonstrates that "ballet mime" originated from the drama tradition. Although dance historians have credited Carlo Blasis with the definitive codification of this language of gesture, Blasis' contribution to "ballet mime", it is argued, was minimal. In the first part, an historical account of the evolution of the language of gesture in Italy IS'ýgiven: mime is analysed in relation to the acting techniques of the Commedia dell'Arte, to the theories on "ballet d'action" formulated by Gasparo Angiolini, Viganö's "coreodramma" and Blasis' career as a dancer, teacher and choreographer. Part Two consists of an analysis of written sources dealing with the language of gesture which demonstrates the continuity of the mime tradition from the Commedia dell' Arte to Blasis. In parallel, Blasis' manuals are analysed. In Part Three, an investigation of the visual material on mime provides evidence to support the general argument. The final chapter assesses current theories and Blasis' posthumous reputation. (c) Giannandrea Poesio 1993 CONTENTS INTRODUCTION page 1 PART ONE AN HISTORICAL OUTLINE OF THE EVOLUTION OF THE LANGUAGE OF GESTURE IN ITALY Chapter 1 Erman Carmedia deli 'Arte to the "ballet d'action": the evolution of theatre gesture in Italy 7 1.0 Introduction 8 2.0 The importance of mime in the Connnedia dell'Arte 10 3.0 The mimed "lazzi" and other expressive gestures 13 4.0 The rediscovery of mime and the birth of the "ballet d'action" 23 5.0 Gasparo Angiolini, the first Italian theorist of the "ballet d'action" 26 6.0 Theories on mime in Angiolini's written works 29 7.0 Conclusion 36 Chapter 2 The evolution of pantanime ballet in Italy: Salvatore Viganö 39 1.0 Introduction 40 2.0 A brief historical account of the life and career of Salvatore Vigand 43 3.0 The source material on Viganö: a problem of documentation 48 4.0 An analysis of some characteristic elements of the "coreodramma" 50 5.0 Conclusion 64 Chapter 3 Carlo Blasis: the man, the dancer, the choreographer and the teacher. 67 1.0 Introduction 68 2.0 An analysis of the source material on Blasis 69 3.0 Blasis the man 76 4.0 Blasis the dancer 80 5.0 Elements of Blasis' choreography: the manuscript of Faust 84 6.0 Blasis the choreographer: an evaluation 90 7.0 Blasis the teacher 95 8.0 Conclusion 99 1 PART TWO ANALYSIS OF THE WRITTEN MATERIAL CN GESTURE (1625-1857) Chapter 4 Towards a grammar of gesture 104 1.0 Introduction 105 2.0 Giovanni da Bonifacio: language of gesture from the everyday(1625) 108 3.0 The language of gesture on stage: Il Corago(1628) 111 4.0 Commedia dell'Arte and the language of gesture: Andrea Perrucci's Dell'Arte Rappresentativa(1699) 117 5.0 Luigi Riccoboni's Dell'Arte Rappresentativa(1728) 121 6.0 Vincenzo Requeno: the rediscovery of Chironomia(1797) 124 7.0 Gestures and acting: Antonio Morrocchesi's Lezioni di Declamazione(1832) 130 8.0 Conclusion 133 Chapter 5 Blasis the author: an analysis of his major publications 138 1.0 Introduction 139 2.0 Blasis'corpus: an overview 140 3.0 Blasis' dance-related works: a detailed analysis 144 3.1 The Traite(1820) 3.2 The Code of Terpsichore(1828) 3.3 The Saggi e Prospetto(1841) and the Studi sulle Arti Imitatrici(1844) 3.4 The Notes upon Dancing(1847) 3.5 L'uomo fisico, intellettuale e morale(1857) 4.0 Conclusion 163 Chapter 6 Blasis and the art of mime 166 1.0 Introduction 167 2.0 Blasis as a mime dancer and teacher 169 3.0 Mime in Blasis' writings 175 3.1 The Trait6(1820) 3.2 The Code of Terpsichore(1828) 3.3 The Saggi e prospetto(1841) 3.4 The Studi sulle Arti Imitatrici(1844) 3.5 The Notes upon Dancing(1847) 3.6 L'uomo(1857) 4.0 Conclusion 196 11 PART THREE THE ILUJSTRATED GESTURE: ANALYSIS OF THE VISUAL MATERIAL, CN MIME (1600-1857) Chapter 7A methodology for the analysis of the visual material in mime treatises and related sources 201 1.0 Introduction 202 2.0 Visual material on mime in books 204 3.0 Visual material on mime in related sources 212 4.0 Methods of analysis 216 5.0 Sources of the analysis 218 5.1 The Fossard collection 5.2 Jacob Engel's Lettere intorno alla mimica 5.3 Morrocchesi's Lezioni di declamazione 5.4 Blasis' illustrations 6.0 Conclusion 226 Chapter 8 The comparative analysis of the visual material on mime (1600-1857) 227 1.0 Introduction 228 2.0 Elements of comparative analysis: sets of gestures and their sub-categories 234 2.1 Gesture from the everyday: characteristics context and analysis 2.2 From dialect movements to "heroic" mime: the evolution of the language of gesture 3.0 Towards an illustrated codification: Jacob Engel and Antonio Morrocchesi 242 3.1 Morrocchesi's codification: the narrative gesture 3.2 Morrocchesi's codification: the expressive gesture 4.0 Visual codification in Blasis' works: problems of attribution 253 5.0 Blasis and the codification of the language of gesture: differences and similarities with Engel and Morrocchesi 255 6.0 Conclusion 257 Chapter 9 Blasis and the art of mime. The posthumous reputation 260 1.0 Introduction 261 2.0 Blasis' reputation in the nineteenth century, criticism and imitation 263 3.0 Blasis 's reputation and influence in the second half of the nineteenth century 269 4.0 Early twentieth-century writing on mime and Carlo Blasis: a controversial view 273 5.0 The making of a reputation: twentieth-century dance history and Blasis 276 6.0 Blasis and the codification of "ballet mime": a misinterpreted contribution 279 7.0 Conclusion 284 iii APPENDIX TRANSIATICt1 OF THE FOREIGN LAN(JACE PASSAGES 288 BIBLIOGRAPHY 304 LIST OF TABLES Diagram 1 An overview of Blasis' corpus: the key works. 141 Diagram 2 Blasis' Traite and its subsequent revisions. 143 Diagram 3 Ballets performed at la Scala when Blasis was "primo ballerino" 172 Diagram 4 A comparison between publications on mime in the first half of the nineetenth century 178 Diagram 5 Illustrated dance texts and non-illustrated writings on mime 205 LIST OF ILLUSTRATIONS (SEPARATE VOLUME) Figure 1 313 Figure 2 314 Figure 3 315 Figure 4 316 Figure 5 317 Figure 6 318 Figure 7 319 Figure 8 320 Figure 9 321 Figure 10 322 Figure 11 323 Figure 12 324 Figure 13 325 Figure 14 326 Figure 15 327 Figure 16 328 Figure 17 329 Figure 18 330 Figure 19 331 Figure 20 332 Figure 21 333 Figure 22 334 Figure 23 335 Figure 24 336 Figure 25 337 Figure 26 338 Figure 27 339 Figure 28 340 Figure 29 341 Figure 30 342 Figure 31 343 iv Figure 32 344 Figure 33 345 Figure 34 346 Figure 35 347 Figure 36 348 Figure 37 349 Figure 38 350 Figure 39 351 Figure 40 352 V ACKNOWLEDGEMENTS I would like to acknowledge the valued information on Blasis' publications given by Maestro Giampiero Tintori, Director of the Biblioteca Teatrale della Scala in Milan. The British Library, the Dance Collection of the New York Public Library, the Biblioteca Nazionale di Firenze and the Archivi della Danza di Torino have been invaluable sources for this study. I am grateful to my father, for letting me use his library and his collection of rare books. I would like to express my gratitude to my two tutors, Professor Janet Adshead-Lansdale, University of Surrey, and Professor Margaret M. McGowan, University of Sussex, who guided me through this research with their great expertise, supporting me with both scholarly and friendly advice. A special thank goes to all my English friends, for their great help with the language. Finally I would like to acknowledge one friend in particular, who does not want to be mentioned, for continuous encouragement, patience and coffee. This thesis is dedicated to my parents. vi INTRODUCTION In classical ballet, the narration of events and the description of feelings and emotions are conveyed through traditional mime signs. These movements, corresponding to nouns, pronouns, verbs or even entire sentences, form a specific language of gesture, the function of which is similar to that of subtitles in silent movies. Although examples of "ballet mime", as it is generally called, can be found in Russian, French and Danish ballets of the nineteenth century, this particular language of gesture originated and evolved in Italy, and its historical roots can be traced in the Commedia dell'Arte. The itinerant troupes of the Commedia and the many Italian dancers who toured extensively during both the eighteenth and the nineteenth centuries made their language of gesture universally known. Drama and dance theorists from other European countries soon recognised the value of Italian mime and acknowledged its uniqueness in their works. In the nineteenth century, the Italian language of gesture became the standard mime vocabulary used in theatrical dancing across Europe. "Ballet mime" is regarded today as a lesser artistic subspecies, if not as an obsolete and disturbing accessory to ballet. These conventional movements, however, are historically important, for they stem from almost four centuries of theatre tradition.
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